Catalogue of an Exhibition of 
Etchings 
by 


Rembrandt 


Hs 


With an Introduction by 
David Keppel 


BB 


Frederick Keppel & Company 
16 East Fifty-Seventh Sireet 
New York 


November 11 to November 29, 1924 





Catalogue of an Exhibition of 
Etchings 
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Rembrandt 


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With an Introduction by 
David Keppel 


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Frederick Keppel & Company 
16 East Fifty-Seventh Street 
New York 


November 11 to November 29, 1924 








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o> oie ORTUNATELY for us Rembrandt 

*| was never taught that the sub- 
sof, ject has no bearing on the value 
= of a work of art. On the con- 
trary he immersed himself in his subject 
and forgot all else to bring out its human 
and spiritual significance. This simple and 
old fashioned method seems somehow to 
ring very true after one has been wander- 
ing in those elevated but somewhat sterile 
regions where no quality is admitted ex- 
cept the quality of pure design. 


How flexible and sensitive an instru- 
ment his genius was in depicting scenes 
from the life of Christ may be realized by 
comparing two groups of prints which are 
included in the present exhibition. For the 
most part these prints are very modest in 
size and simple in treatment. 


The first group has to dowith the earliest 
days of Christ’s life on earth. The rough 
simple figures are quite devoid of beauty 
in the usual sense but instead have a 
touching human quality of which Rem- 
brandt alone had the secret. They have 
also a certain childlike quality and a joy- 
ousness which is associated in our minds 
with Christmas. In this group I should 
include The Nativity and the Adoration of 
the Shepherds, the Flight into Eg ypt,a Night 
Piece and the Holy Family Crossing a Rill 
and also both versions of the Rest on the 
Flight into Egypt. 


As the first group has the simplicity 
and sweetness appropriate to childhood, 


so the second group has the sublimity 
appropriate to Christ’s Passion and super- 
natural appearances. The style still seems 
simple and almost naive, but how soaked 
with tragedy the Agony in the Garden, 
how nobly solemn the Descent from the 
Cross by Torchlight, how full of sorrow 
Christ Carried to the Tomb. Again there is 
a subtle change to the miraculous appear- 
ance of Christ at Emmaus and The In- 
credulity of St. Thomas. 


Davip KEPPEL 


November, 1924 


8 


CATALOGUE 


Rembrandt a Trois Moustaches B. 


Assumed date 1632-4. From the Hilgrove Coxe 
collection. 


Rembrandt Wearing a Scarf B. 
Dated 1633. Third state of five. Very fine im- 
pression. 

Rembrandt and Saskia B. 


Dated, 1636. Second state of three. From 
the Harford, Esdaile and Morrison collection. 


Rembrandt in an Oval, With Aigrette B. 


Dated 1634. Very fine impression, of the third 
ee of four. From the Herman Webber col- 
ection. 


Rembrandt in Fur Cap and 
Light Dress B. 


Dated 1630. Fourth state of five. 
“Spirited work with much more scientific model- 
ing. Cap, dress, and dark passages of hair due 
to a second biting over a paler etching.” 
Holmes. Notes on the Art of Rem- 
brandt. 


Rembrandt Dismissing Hager B. 


Dated 1637. Beautiful impression of the only 
state. 

“This is one of the most perfectly delicate of 
all Rembrandt’s etchings.” 


P. G. Hamerton. 


Abraham’s Sacrifice B. 


Dated 1655. Brilliant impression, from the 
Morant collection. 

“By its grandeur and originality of invention 
and composition it may well take rank as one of 
Rembrandt’s finest plates. . . . Independently 
of its very fine composition, and the magnificent 
style in the drawing of Abraham and the Angel, 
this plate may be easily recommended as a fine 
example of the free etched line which is every- 
where perfectly frank and full of vital energy.” 


a 


17 


Ig 


23 


24 


39 


sf 


P. G. Hamerton, Rembrandt. 


David and Goliath B. 
Dated 1655. Third state of four. 


36 


10 


11 


12 


13 


14 


The Image Seen by Nebuchadnezzar B. 36 


Dated 1655. 


Jacob’s Ladder B. 36 


Dated 1655. Superb impression of the second 
state of three. 


The Vision of Daniel B. 


Dated 1655. Very brilliant impression of the 
first state of three. 


The Triumph of Mordecai B. 


Assumed date 1640. Extremely fine impression 
of the only state. 


“First dry-point, then finished with delicate 
biting; then strongly accented with dry-point. 
A delightful illustration of the story. Note the 
subtlety with which light and shadow are inter- 
changed and yet kept broad, and how all the 
curves center in Mordecai’s figure.” 

C.J. Holmes. Notes on the Art of Rembrandt. 


Tobit Blind B. 


Dated, 1651. First state of two. From the 
Fontaine Walker collection. 


“Fesus Disputing with the Doctors: The Larger 
Plate is a masterly sketch like the Todit, in 
which the imaginative conception of the scene 
far predominates over simple handicraft.” 

P. G. Hamerton. 


Annunciation to the Shepherds B. 


Dated, 1634. Third state of four. From the 
Brentano-Birckenstock collection. 


“In 1634 Rembrandt had etched the large 4n- 
nunciation to the Shepherds, in which the land- 
scape is of the same visionary kind as appears 
in the paintings. The general effect is of white 
on black, the supernatural effulgence in the sky, 
which so startles the shepherds and their flocks, 
calling out of the gloom mysterious waving 
heights of foliage and obscure gleams of dis- 
tance.” 

Laurence Binyon. Prints and Their Makers, 

page 96. 


15 The Nativity B. 


Brilliant impression of the first state of three. 
From the Hilgrove Coxe collection. 
See introduction. 


16 The Adoration of the Shepherds B. 


Assumed date, 1652. Fine impression of the 
completed state, the planks behind the head of 
the Virgin are distinctly visible, but before the 
plate was reworked. See introduction 


36 


40 


42 


44 


45 


46 


17 Flight into Egypt (A Night Piece) B. 53 


Dated, 1651. Extremely fine impression of an 
intermediate state before the fourth and fifth, 
there are six states in all. From the Paul 
Mathey collection. See introduction 


18 Holy Family Crossing a Rill Br $5 


Dated, 1654. From the Artaria, Barden and 
Dr. Elischer collections. 


“The Virgin, resting her hand on the saddle, 
hangs her head with an air of grief; the precau- 
tion of the old man who sounds the water with 
his staff is expressed in a most accomplished 
manner. The ass is a masterpiece of design and 
engraving. If this little print were rare, it would 
command enormous prices, so charming is it.’ 


See introduction Charles Blanc. 

19 Rest on the Flight into Egypt B. 57 
Dated, 1647. See introduction 

20 Rest on the Flight into Egypt B. 58 


Dated, 1645. Only state, on paper water- 
marked with the “Head of Folly.” This 
plate was lightly etched and impressions are 
always faint. See introduction 


21 Christ Disputing With the Doctors B. 65 


Dated, 1652. First state before the plate was 
disfigured by foul biting at the top and right. 
Extremely fine impression, from the Richard 
Gutekunst collection. 


“Magnificent: its simplicity should be compared 
with the studied arrangement of the 1630 plate, 
as its variety of individual characterization may 
be contrasted with the generalized types of the 
earlier piece. Cunning, pedantry, stupidity, 
senility, and fanaticism have never been more 
concisely presented.” 

C.J. Holmes. Notes on the Art of Rembrandt. 


22 Christ Preaching B. 67 


Assumed date, 1652. Beautiful proof on paper 
watermarked with the ‘Head of Folly.” From 
the de Vries and Artaria collections. 

“Though less important than the Hundred 
Guilder Print, the Christ Preaching is certainly 
as strong as, if not stronger than, its great com- 
panion in its drawing of human character. The 
profound attention of the assembly, the marve- 
lous expressions of their faces as they listen to 
the words of Christ, make an impression upon 
us that cannot be forgotten, and we are as if we 
ourselves were there listening to what the great 
Preacher has to say.” Atherton Curtis. 





Christ Preaching—Continued 


23 


24 


27 


28 


“His drawing makes itself overlooked, but over- 
looks nothing. He is excellently physiognomic. 
He expresses and characterizes in their in- 
dividuality traits, looks, attitudes, and move- 
ments; that is to say, the normal habits and 
passing accidents of life. His execution has the 
propriety, the loftiness, the close tissue, the 
power and concision natural to craftsmen who 
are past masters in the art of fine language.” 
Eugéne Fromentin. Les Maitres d’ Autrefois. 


Christ Driving Out the Money 
Changers B. 


Dated, 1635. Extremely fine clear impression 
of the first state of two. 


The Raising of Lazarus B. 
(The Smaller Plate) 


Dated, 1642. First state of two. 


“A definite landmark in Rembrandt’s career; 
entirely perfect and successful. The figures, all 
done from memory, are at once complete in 
themselves and fused in the general scheme. 
The design is more daring in its conventions 
and omissions than any previous attempt. 
Everywhere character is rendered without cari- 
cature, and set in a delicate natural atmosphere. 


The Agony in the Garden B. 
Dated, 165 (?). From the collection of Pierre 
Mariette, 1670. See introduction 

The Crucifixion (Oval) B. 


Assumed date, 1648. Beautiful impression of 
the first state of two. Extremely rare. 


The Descent From the Cross 
by Torchlight B. 


Dated, 1654. Superb impression of the first 
state ‘of two. From the Holford collection. 


“I have an especial liking for this, the work is so 
right and manly and the composition so natural, 
and yet so full of art.’ 

See introduction P. G. Hamerton. 


Christ Carried to the Tomb B. 


Assumed date, 1645. Beautiful impression 
from the Richard Gutekunst collection. 
See introduction 


69 


72 


75 


79 


83 


29 


30 


3l 


32 


33 


34 


Christ at Emmaus ; B. 
(The Larger Plate) 


Dated, 1654. First state of three. Superb 
impression. From the collection ‘of the Earl 
of Spencer. On paper watermarked with a 
“Fleur de Lys.” 
“A number of masterly works in etching are 
‘dated 1654. About all there is the print doubly 
attractive on account of the charming simplicity 
of the design, which repeats with new artistic 
beauty the subject, which the master already so 
often handled, of the manifestation of The 
Redeemer at Emmaus.” 
Knackfuss. Rembrandt, page 128. 
See introduction 


The Same B. 


Second state _of three. From the Theodore 
Dewitt collection. 


Christ at Emmaus B. 
(The Smaller Plate) 


Dated, 1864. Only state. 


The Incredulity of St. Thomas B. 


Dated, 1650. Superb proof of the only state, 
duplicate from the Berlin and Dresden Mu- 
seums, also from the Theobold collection. 
“The miraculous presence is at last perfectly 
suggested with the greatest possible economy of 
means. Force, character, and luminosity are 
attained without contrast or labor; indeed, in 
its treatment of light it is the most modern of 
Rembrandt’s works.” 

C.J. Holmes. Notes on the Art of Rembrandt. 
See introduction 


St. Jerome Writing at the 
Foot of a Tree Ley 


Dated, 1648. Superb proof. 
“Une des piéces les plus gracieuses de l’oeuvre.” 


87 


87 


88 


89 


103 


Rovinski. 


St. Jerome in an Italian 
Landscape B. 


Assumed date, 1653. Superb impression, on 
paper watermarked with the “Head of Folly.” 
From the James Rice collection. 
“Rembrandt a traité bien des fois ce sujet de 
Saint Jéréme, mais jamais avec plus de grandeur 
ni d’une facon plus heureuse.” 

Charles Blanc. Rembrandt. 


104 


35 


36 


37 


38 


39 


40 


St. Jerome in Rembrandt’s 
Dark Manner B. 105 


Dated, 1642. Very fine proof of the second state 
of three. 


Star of the Kings (A Night Piece) B. 113 


Assumed date, 1652. Fine impression of the only 
state. 


This represents a procession on Christmas Eve 
at Amsterdam, at which a symbolical star of 
Bethlehem was carried through the streets. 


The Pancake Woman B. 124 
Dated, 1635. Second state of three. 


“What an abundance of spirit and humor there 
is in the delightful picture of street life, The 
Pancake Woman!” 

Knackfuss. 


The Synagogue B. 126 


Dated, 1648. Superb impression of the second 
state of three. 


“There is virtue in limitation of interest, and it 
is in this respect that the same style of etching 
used'in the Hundred Guilder Print succeeds so 
perfectly in that wonderful little piece of genre, 
The Fews in Synagogue.” 

A. M. Hind. Rembrandt's Etchings. 


Peasant Family Traveling B. 131 


Assumed date, 1652. Extremely fine impres- 
sion of the first state of two. From the Paul 
Mathey collection. 


Two Peasants Traveling B. 144 


Assumed date, 1644. Extremely fine impression 
from the Kalle, Barden and Brentano-Bircken- 
stock collections. 


41 Beggars at the Door of a House B. 176 


Dated, 1648. Beautiful impression of the first 
state of two. 


“When Alphonse Legros remarked to me that he 
considered this to be Rembrandt’s finest etching, 
I answered: ‘That is because it is so like one of 
your own.’ To this he made answer: ‘You pay 
me an immense compliment.’ ” 

Frederick Keppel. The Golden Age of En- 


graving. 


42 


43 


44 


45 


46 


47 


Nude Man Seated on a Bench B. 193 


Dated, 1646. The state differences sighted by 
Rovinski are not clear, and there would appear 
to be only one state of the plate. Brilliant and 
early impression. The right hand border of the 
curtain is drawn in with pen, this was probably 
done by Rembrandt as a suggestion for changes 
in the plate, which however were never carried 
out. From the D. Momas collection. 


A Woman Preparing to Dress 
After Bathing B. 199 


Dated, 1658. Superb impression on Japan 
paper. This proof comes from the Rovinski, 
collection, and is reproduced in Rovinski’s 
catalogue on Rembrandt. 


“Note the masterly arrangement and study of 
lighting for which this wonderful plate is the 
pretext. All details of structure are lost in the 
blaze of light which illuminates the piece, and 
the drawing once more is rightly not structural. 
This force and splendor, it should be noticed, are 
obtained without the help of dry-point.” 

C.J. Holmes. Notes on the Art of Rembrandt. 


Diana at the Bath B. 201 


There appears to be only one state. Brilliant 
early impression, on paper watermarked with 
an “Imperial Eagle.” From the Earl of Ayles- 
ford, Duke of Buccleugh, and Hawkins col- 
lections. 


The Woman With the Arrow ee Paes 7 


Dated, 1661. Extremely fine impression. 
Early state before the signature was strength- 
ened. 


This is among the rarest, as it is one of the most 
beautiful of Rembrandt’s etchings of the nude. 


Landscape With a Sportsman B. 211 


Assumed date, 1650. Extremely rare first state 
of two. From the Galichon collection. 


Landscape With a Flock of Sheep B. 224 


Dated, 1650. Extremely fine impression, of 
the second state. From the collection of the 
Earl of Spencer. 


Atherton Curtis considers this, and the S%x’s 
Bridge, to be the finest of Rembrandt’s land- 
scapes. 


48 


49 


Cottage With White Palings B. 232 


Dated, 1642. Beautiful impression. From the 
Artaria and Morrison collections. 


_ This is one of the most charming of Rembrandt’s 
landscapes. The vivid white of the planks in 
the center of the dark part of this picture is an 
instance of his brilliant originality of composi- 
tion. The trees are beautiful examples of his 
earlier manner of treating foliage in pure etch- 
ing. Later on, when he came to use dry-point 
more in the treatment of trees, in such plates as 
the Goldweigher’s Field and the Flock of Sheep, 
the foliage is quite different and is made up of 
a great number of stiff little strokes. 


Renier Anslo By ay 


Dated, 1641. Third state of five. From the 
C. D. Ginsburg collection. 


50 Jan Lutma B. 276 


51 


52 


53 


54 


Dated, 1656. Very fine impression of the 
second state of four. From the Richard Gute- 
kunst collection. 
“Rembrandt produced one of his most masterly 
portrait etchings in 1656, the incomparably 
picturesque and lifelike print of the famous 
goldsmith, Janus Lutma of Groningen.” 

H. Knackfuss. Rembrandt, page 137. 
“He” (Rembrandt) “admired nothing so much 
as a certain stern and manly grandeur resulting 
from the combination of the habits of reflection 
and much experience of the world.” 

P. G. Hamerton. 


Portrait of Coppenol B. 282 
(The Smaller Plate) 


Assumed date, 1636. Extremely fine impres- 
sion. From the Pierre Mariette collection, 1670. 


Rembrandt Laughing : B. 316 


Dated, 1630. Fourth state of five before slip 
drypoint strokes at the right. 


Rembrandt’s Mother, With 
Hand to Breast B. 349 


Dated, 1631. Second state of five. 


Saskia and Five Other Heads B. 365 


Dated, 1636. Fine impression, on paper water- 
marked with the “Imperial Eagle.” From the 
S. Barden and Graf Harrach collections. 








